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	Alain Resnais - Wikipedia, the free encyclopedia
		Alain Resnais (born June 3, 1922 in Vannes, France) is a French film director, and a key founder of the french new wave or nouvelle vague film movement.
		Alain Resnais is still creating more filmic out-put, most recently with Coeurs(2006), known as Private Fears in Public Places in North America.
		As in the French preview for Pas sur la bouche, the trailers usually consist of Resnais himself speaking.
	en.wikipedia.org /wiki/Alain_Resnais (405 words)

	Alain Resnais
		There is a dual meaning behind the title of Alain Resnais' eviscerating holocaust documentary, Night and Fog: a reference to the arrival of interned prisoners into concentration camps under the cloak of darkness, and the subconscious suppression of knowledge and culpability for the resulting horror of the committed atrocities.
		Alain Resnais retains the radical narrative structure of Marguerite Duras' screenplay, yet achieves a distinctly personal tome on war, guilt, and atonement in Hiroshima mon amour.
		Alain Resnais breaks conventional narrative linearity by interweaving extensive flash-forward and flashback episodes into the film's elliptical framework to create a pervasive atemporality and chronological ambiguity that reflects Diego's sense of displacement and existential crisis.
	www.filmref.com /directors/dirpages/resnais.html (2025 words)

	Fantastic Metropolis » Alain Resnais
		Alain Resnais is a cult director whose capacity to irritate and enthral seems to spring from the same source.
		Born in 1922, Resnais was fascinated by the medium of film from an early age.
		It was obvious that Resnais needed to branch out into new areas and in 1959, with the aid of Marguerite Duras, this is precisely what he proceeded to do, with a film that mixed documentary and fiction, and which won awards from both the Cannes Film Festival and the New York Film Critics.
	www.fantasticmetropolis.com /i/resnais/1 (724 words)

	French culture \| cinema : Alain Resnais Biography (Site not responding. Last check: 2007-10-22)
		Born in 1922, Alain Resnais is a legendary French director, a leader of the Nouvelle Vague (New Wave) of unorthodox, influential film directors appearing in France in the late 1950s.
		The orientation of this group is opposite to that of the Cahiers du Cinéma subsection of the New Wave, which tended toward a politically quietist anarchism and drew upon a deliberately conventional, often Roman Catholic, bourgeois culture--and whose editorial offices were in the fashionable Champs-élysées across the Seine.
		Resnais has regularly worked with such distinguished French literary figures as Marguerite Duras and Alain Robbe-Grillet, encouraging them to write the script as a piece of literature rather than as a screenplay.
	www.frenchculture.org /cinema/festival/resnais/bio.html (603 words)

	The Harvard Crimson :: News :: Alain Resnais: From Marienbad to the Bronx
		Resnais claims to have the feeling, sometimes, that he is doing nothing now.
		ACOLLABORATION of Alain Resnais and Stan Lee, if it is ever realized, may well be a combination as significant and as perfect as that, eleven years ago, of Resnais and the French author Alain Robbe-Grillet, in the creation of Last Year at Marienbad.
		Resnais never worked from a novel--an already complete form in itself--although, as he points out, it is easier to get financial backing for such projects.
	www.thecrimson.com /article.aspx?ref=129286 (1642 words)

	Alain Resnais \| Movie Card (Site not responding. Last check: 2007-10-22)
		While a seminal figure of the French New Wave, Alain Resnais was not, like so many of his contemporaries, an alumnus of the film journal Cahiers du Cinema.
		Focusing repeatedly on themes of time and memory, Resnais drew from the well of serious literature to offer a singular philosophical and artistic vantage point, employing enigmatic narrative structures, lush cinematography, and lyrical editing patterns to create some of the most provocative and controversial work of the period.
		Penned by Alain Robbe-Grillet, it was less a film than a beautifully composed riddle, one which pushed the formal boundaries of filmmaking while proving to be a surprising commercial success as well.
	www.netcomuk.co.uk /~lenin/ALAIN_RESNAIS.html (876 words)

	Cannes Film Festival (Site not responding. Last check: 2007-10-22)
		While evoking the past, Resnais, a leader of the new wave, seeks to sensitize the audience's memory.
		Alain Resnais shall receive a special award: "Le trophée du festival de Cannes" on May 18, in the salle Buñuel.
		Alain Resnais is best remembered for his mythical first feature film Hiroshima Mon Amour, (1939), an intense passion between a man (Eiji Okada) and a woman (Emmanuelle Riva) juxataposed with footage of devastation (atomic bombs, war).
	www.festival-cannes.org /perso/index.php?langue=6002&personne=7850 (535 words)

	Movies \| Mixed doubles
		Resnais remains best known for his three masterpieces about time and memory: his classic film on the Nazi death camps, "Nuit et brouillard"/"Night and Fog" (1955); his first feature, Hiroshima mon amour (1959); and its follow-up, L’année dernière à Marienbad/Last Year at Marienbad (1961).
		Resnais may be the most cerebral of filmmakers, but he’s also the least reasonable, except in Pascal’s sense that "the heart has its reasons.
		The very slight plot hinges on the need to keep the first marriage a secret from the second husband, whose faith in his wife is based on his belief that every woman bears a permanent psychological imprint from her first real love.
	www.bostonphoenix.com /boston/movies/reviews/documents/04603314.asp (1170 words)

	Amazon.com: Mon Oncle d'Amerique: DVD: Alain Resnais,Gérard Depardieu,Nicole Garcia,Roger Pierre,Nelly Borgeaud,Pierre ... (Site not responding. Last check: 2007-10-22)
		If Resnais felt as playful with the ideas as he does with the characters (he occasionally has them acting out their aggressions dressed in rat costume, for example), if he weren't so impressed and convinced by them, the film would have more spark.
		For those unfamiliar with Alain Resnais, he was at one time a highly experiemental filmmaker and part of the French New Wave with titles "Hiroshima, mon amour" and "Last Year at Marienbed".
		Resnais is brilliant in the way he combines the lecture with the unfolding lives of the three protagonists.
	www.amazon.com /Mon-Oncle-Amerique-Alain-Resnais/dp/B00004U1FB (2758 words)

	Alain Resnais (1922 - )
		Ten years after the liberation of the Nazi concentration camps, filmmaker Alain Resnais documented the abandoned grounds of Auschwitz.
		Resnais' classic, definitive study of the concentration camp universe is a searing meditation on individual and collection responsibility, a film about human forgetfulness, a reminder of a reproduceable past, an account of a cosmic horror, an archetypal, surrealist nightmare come alive.
		The constant transitions from then to now presage Resnais' later work and serve to confirm that the horror the film depicts continues into the present and is, in fact, concurrent to it.
	www.jahsonic.com /AlainResnais.html (282 words)

	ALAIN RESNAIS French films from THE NEW YORK FILM ANNEX / NYFAVIDEO.COM
		Alain Resnais' first feature was this spellbinding mosaic of memory, conscience, time and space.
		“Resnais in his remarkable first feature, after 11 years of making short films, managed by a complex use of the flashback device to change the cinema's concept of subjective time.
		As with his previous works, Resnais once again explores and manipulates time to examine past experiences and their effect on present existence.
	www.nyfavideo.com /content/cat-RESNAIS.htm (601 words)

	The Films of Alain Resnais
		However, its continuing critical status as Resnais' best film seems mostly due to good timing; the antiwar sentiments proved highly resonant in a few years with the arrival of the Vietnam War, while Duras' introspective feminism ensured its place in gender studies classes for decades to come.
		Resnais is represented by two interviews, a 1961 discussion with Cinepanorama and a later 1980 audio-only interview; he talks about Hiroshima in both but from obviously very different vantage points, which makes for an interesting comparison.
		Resnais was all the rage in the '60s with his brain-teasing visual puzzles, but his style transformed over the years as he took increasingly tremendous amounts of time to work on each project before finally settling into apparent retirement.
	www.mondo-digital.com /marienbad.html (1202 words)

	'The Stream of Consciousness - Films of Resnais' by Haim Callev
		Of all filmmakers, Alain Resnais has been the most involved in a deliberate effort to represent mental processes of characters in his films.
		Resnais' achievements in expressing mental processes will be looked into as indications of the expressive potentialities of the film medium to cope with such representation.
		Resnais' concern with the interior life of characters is central in most of his films, even when no attempt is made to represent their stream of consciousness.
	www.tau.ac.il /~haim/s-chaptr.htm (6492 words)

	FILMMAKER MAGAZINE \| Spring 2000: Anatole Dauman on Alain Resnais
		On the suggestion of Chris Marker, Alain Resnais chose Jean Cayrol, a Mauthausen camp survivor, to write the grave, unforgiving commentary.
		The cap – the unmistakable characteristic of the French police – was proof of institutional collaboration in the Holocaust.
		Resnais was so respectful of Duras’s writing style that he had timed his dolly shots, stopwatch in hand, to match the musical rhythm of her words.
	www.filmmakermagazine.com /spring2000/features/all_tomorrow2.php (671 words)

	Summer Sandhoff: From Night and Fog to Shoah
		Alain Resnais' documentary is only 30 minutes long, yet it explores many difficult topics like comparing the time of the immediate postwar period and the 1950s (seeing how "easy" it was to forget), who was responsible for such atrocities, and Holocaust denial.
		Resnais does this to prod the audience into remembering the events of the Holocaust, that France was a collaborator under the Vichy Regime, and the events going on during the 1950s.
		Resnais said the following about Eisler's composition: "the more violent the images are the gentler is the music…Eisler wanted to show that the optimism and hope of man always existed in the background."[4]
	www.history.ucsb.edu /faculty/marcuse/classes/133p/133p04papers/SSandhoffFrenchFilms046.htm (4481 words)

	Alain Resnais Biography :: Hollywood.com (Site not responding. Last check: 2007-10-22)
		Resnais' most memorable documentary is the 31-minute "Nuit et brouillard/Night and Fog" (1956), a disturbing excursion into the world of Nazi concentration camps, in which he first revealed his preoccupation with the theme of memory and a visual style emphasizing probing camera tracking.
		Resnais' montage allows him to travel from one place to another and from the "present" to a variety of past times, marrying the private moments of the two principals with the very public tragedy of Hiroshima.
		Resnais moved into an English-language medium for "Providence" (1977), a film exploring the workings of the creative process (Resnais' creative processes in particular) and featuring a stellar cast including John Gielgud, Dirk Bogarde, Elaine Stritch and Ellen Burstyn.
	www.hollywood.com /celebs/fulldetail/id/196313 (1694 words)

	Last Year at Marienbad - Wikipedia, the free encyclopedia
		It is famous for its enigmatic narrative structure, in which truth and fiction are difficult to distinguish, and the exact temporal and spatial relationship of the events is open to question.
		The film was nominated for the 1963 Academy Award for Writing Original Screenplay (Alain Robbe-Grillet), and it won the Golden Lion at the 1961 Venice Film Festival.
		In 1963 Adonis Kyrou declared the film a total triumph in his influential Le Surréalisme au Cinéma (p.206), recognizing the ambiguous environment and obscure motives within the film as representing many of the concerns of Surrealism in narrative cinema.
	en.wikipedia.org /wiki/Last_Year_at_Marienbad (403 words)

	Amazon.com: Last Year at Marienbad: Video: Alain Resnais,Delphine Seyrig,Giorgio Albertazzi,Sacha Pitoëff,Françoise ... (Site not responding. Last check: 2007-10-22)
		Resnais built a captivating puzzle-like film, a labyrinth, which at time resembles the optical illusions of Escher or the surreal world of Magritte.
		Resnais uses extremely short scenes, with purposely too dark or over-exposed shots, obscure image flashes, shot with reframing that allow for the intrusion of characters.
		Surely the film was very brave experiment by Resnais (the director) in 1961 (French "new wave"), introducing to cinematography what Joyce and Proust pioneered in literature at beginning of 20th century.
	www.amazon.com /Last-Year-Marienbad-Alain-Resnais/dp/630318426X (2806 words)

	alainresnais2000
		It’s no wonder that Resnais counts both Feuillade and Fred Astaire as early influences, for his film are both fantastical and elegant, purely poetic and highly formal.
		Resnais’ first English language picture (scripted by British playwright David Mercer) recaptured the genius of his earlier films: John Gielgud stars as a brilliant, Machiavellian writer who hallucinates his last novel using his family members – Dirk Bogarde, Ellen Burstyn and David Warner – as characters.
		One of Resnais’ biggest critical and commerical successes, MON ONCLE illustrates the radical theories of human behavioral scientist Henri Laborit by comically studying the interwoven stories of a factory manager (Gerard Depardieu), an aspiring actress (Nicole Garcia), and a politician (Roger-Pierre).
	www.americancinematheque.com /archive1999/2000/alainresnais2000.htm (1755 words)

	Images - Alain Resnais: Hiroshima Mon Amour and Night and Fog
		Resnais' masterful use of montage is on fine display here (he integrates fl and white archival footage of the camp survivors and the dead with that of color footage shot by Ghislain Cloquet and Sacha Vierny), giving resonance to a landscape that is all too familiar yet unfortunately grows foggier with each passing year.
		But it was Resnais' highly sophisticated use of montage, his melding of past and present in a seamless fashion, that caught filmgoers all over the world off-guard.
		Resnais would later expand his ideas about time, fantasy, and memory in his film Last Year at Marienbad (1961), but unlike Hiroshima Mon Amour it would come at the expense of a solid emotional core.
	www.imagesjournal.com /2003/reviews/resnais/text.htm (692 words)

	Amazon.ca: Hiroshima mon amour: DVD: Alain Resnais,Emmanuelle Riva,Eiji Okada,Stella Dassas,Pierre Barbaud,Bernard ... (Site not responding. Last check: 2007-10-22)
		Written by Marguerite Duras and juggled, as if by wandering thoughts, in chronology and setting by Resnais, the film reveals the miserable and mortifying experiences of each character during the war and suggests the obvious healing properties of their relationship in the present.
		A cornerstone of French cinema, Alain Resnais' first feature is one of the most influential films of all time.
		Resnais tweaks the conventional linear narrative flow with one combining past, present, and future into one and using flashbacks reconciling time with memory.
	www.amazon.ca /Hiroshima-mon-amour-Alain-Resnais/dp/B000093NR0 (2558 words)

	L'année dernière à Marienbad (Last Year at Marienbad)
		Alain Resnais' films are famously haunted by memory, but after treating such Serious Subjects as Guernica, the Holocaust and the atomic bomb, L'année dernière à Marienbad seems at first like a retreat into formalism.
		There is often the tendency with Resnais – such is his reliance on highbrow literary figures for the material of his films –; to downplay his importance as generator of meaning in his work (6).
		Resnais' film may be a study in the workings of memory, but not necessarily memory as guarantor of history and truth.
	www.sensesofcinema.com /contents/cteq/04/33/last_year_at_marienbad.html (1441 words)

	Experimental Films
		Resnais' films are a remarkable stream of beautiful images.
		Muriel (1963) This is the roughest sledding of Resnais' films, at least on the one viewing I have had.
		The film is closest in style to Resnais' films, such as Providence, and Rivette's Céline and Julie Go Boating, both of which also dealt with the borders of fiction and real life.
	members.aol.com /MG4273/exper.htm (9800 words)

	French Directors - Jean Renoir
		Resnais shifts between reality and Montand's mental states in an incisive portrait of an aging Spanish revolutionary exile who is imprisoned by his past as he confronts the failure of his ideas.
		Alain Resnais' searing, unforgettable film on Nazi concentration camps is a devastating record of man's inhumanity to man and perhaps the definitive cinematic statement on the Holocaust.
		With Same Old Song, the great French director Alain Resnais made one of the most playful films of his career, but one that is no less striking or thought-provoking than his more overtly serious work.
	www.multilingualbooks.com /foreignvids-fren-resnais.html (812 words)

	Waggish: Alain Resnais: Night and Fog
		Knowledge and memory change with time (coincidentally, this is one of Resnais' thematic concerns, here and elsewhere).
		When the film was made, a decade after the end of the war and the discovery of the camps, nobody needed to be reminded who had been "the special and prime targets of the Nazis," even if, perhaps guiltily, officialdom was reluctant to talk about all that had happened.
		This is not to find Resnais and the other historic figures who worked on the film--Chris Marker, Sacha Vierny, Hanns Eisler--complicit, but there is an untold story here that nagged at me.
	www.waggish.org /2005/08/alain_resnais_night_and_fog.html (381 words)

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